Skip to main content Accessibility help
×
Hostname: page-component-7479d7b7d-68ccn Total loading time: 0 Render date: 2024-07-16T02:48:22.125Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  28 March 2008

Don B. Wilmeth
Affiliation:
Brown University, Rhode Island
Christopher Bigsby
Affiliation:
University of East Anglia
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 1998

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abrahams, Roger D.Singing the Master: The Emergence of African American Culture in the Plantation South. New York: Pantheon, 1992.Google Scholar
Adair, . “Stories of the StageNew York Dramatic Mirror 3 Jan. 1903: 8.Google Scholar
Alger, William Rounseville. Life of Edwin Forrest, the American Tragedian. 2 vols. Philadelphia: J. B. Lippincott, 1877.Google Scholar
Allain, Mathé, and St. Martin, Adele Cornay. “French Theatre in Louisiana” In Seller, , Ethnic Theatre in the United States139–74.
Allen, Robert C.Horrible Prettiness: Burlesque and American Culture. Chapel Hill: University of North Carolina Press, 1991.Google Scholar
Altick, Richard D.The American Theatre: A Sum of its Parts. See Williams, Henry B..
Altick, Richard D.The Shows of London. Cambridge: Harvard University Press, 1978.Google Scholar
Anthony, M. Susan. “‘This Sort of Thing …’: Productions of Gothic Plays in AmericaJournal of American Drama and Theatre 6 (1994): 81–92.Google Scholar
Applebaum, Stanley, ed. Great Actors and Actresses of the American Stage in Historic Photographs. New York: Dover, 1983.Google Scholar
Appleby, Joyce, ed. American Quarterly, Special Issue: Republicanism in the History and Historiography of the United States 37 (1985): 461–598.Google Scholar
Appleby, Joyce, ed. Capitalism and a New Social Order: The Republican Vision of the 1790s. New York: New York University Press, 1984.Google Scholar
Arant, Fairlie. “A Biography of the Actor Thomas Abthorpe Cooper” Diss., University of Minnesota, 1971.Google Scholar
Arata, Esther S., and Rotoli, Nicholas John. Black American Playwrights, 1800 to the Present. Metuchen, N.J.: Scarecrow Press, 1976.Google Scholar
Archer, Stephen M.American Actors and Actresses: A Guide to Information Sources. Detroit: Gale Research, 1983.Google Scholar
Archer, Stephen M.Junius Brutus Booth: Theatrical Prometheus. Carbondale and Edwardsville: University of Southern Illinois Press, 1992.Google Scholar
Auser, Courtland P.Nathaniel Parker Willis. New York: Twayne, 1969.Google Scholar
Axtell, James. The Invasion Within: The Contest of Cultures in Colonial North America. New York: Oxford University Press, 1985.Google Scholar
Bailey, Peter. “A Mingled Mass of Perfectly Legitimate Pleasures: The Victorian Middle Class and the Problem of LeisureVictorian Studies 21 (1977): 7–28.Google Scholar
Bailyn, Bernard. The Ideological Origins of the American Revolution. Cambridge: Harvard University Press, 1967.Google Scholar
Bailyn, Bernard. The New England Merchants in the Seventeenth Century. Cambridge: Harvard University Press, 1955.Google Scholar
Bailyn, Bernard. The Peopling of British North America: An Introduction. New York: Knopf, 1986.Google Scholar
Baine, Rodney M.Robert Munford. Athens: University of Georgia Press, 1967.Google Scholar
Bank, Rosemarie K.Staging the ‘Native’: Making History in American Theatre Culture, 1828–1838Theatre Journal 45 (1993): 461–86.CrossRefGoogle Scholar
Bank, Rosemarie K.Theatre Culture in America, 1825–1860. New York and Cambridge: Cambridge University Press, 1997.Google Scholar
Barck, Dorothy C. ed. The Diary of William Dunlap. 3 vols. New York: New-York Historical Society, 1930. Rpt. New York: Benjamin Blom, 1969.Google Scholar
Barker, James Nelson. Marmion. New York: Longworth, 1816.Google Scholar
Barnes, Eric W.The Lady of Fashion. New York: Charles Scribner’s Sons, 1954.Google Scholar
Bean, Ann-Marie, Hatch, James V.McNamara, Brooks, Inside the Minstrel Mask. Hanover, N.H.: Wesleyan University Press(University Press of New England), 1996.Google Scholar
Beauvallet, Leon. Rachel and the New World. Trans, and ed. Clair, Colin. London and New York: Abelard Schuman, 1967.Google Scholar
Beeman, Richard R.Patrick Henry: A Biography. New York: McGraw-Hill, 1974.Google Scholar
Beers, Henry A.Nathaniel Parker Willis. Boston: Houghton Mifflin, 1885.Google Scholar
Bell, Michael D.The Development of American Romance: The Sacrifice of Relation. Chicago: University of Chicago Press, 1980.Google Scholar
Bentley, Eric. The Life of the Drama. New York: Atheneum, 1964.Google Scholar
Bercovitch, Sacvan gen. ed. The Cambridge History of American Literature. Volume One: 1590–1820. New York and Cambridge/UK: Cambridge University Press, 1994.CrossRefGoogle Scholar
Bercovitch, Sacvan, ed. Reconstructing American Literary History. Cambridge: Harvard University Press, 1986.Google Scholar
Bercovitch, Sacvan. The Puritan Origins of the American Self. New Haven and London: Yale University Press, 1975.Google Scholar
Bergquist, James M.German-Americans” In Buenker, John D. and Ratner, Lorman A., eds., Multiculturalism in the United States: A Comparative Guide to Acculturation and Ethnicity. Westport, Conn.: Greenwood Press, 1992, 53–76.Google Scholar
Berkhofer, Robert F.The White Man’s Indian: Images of the American Indian from Columbus to the Present. New York: Random House, 1978.Google Scholar
Bernard, John. Retrospections of America, 1797–1811. New York: Harper, 1887.Google Scholar
Bernheim, Alfred. The Business of the Theatre. 1932. Rpt. New York: Benjamin Blom, 1964.Google Scholar
Berson, Misha. The San Francisco Stage, 1849–1869. San Francisco: San Francisco Performing Arts Library and Museum, 1990.Google Scholar
Betts, John R.P. T. Barnum and the Popularization of Natural HistoryJournal of the History of Ideas 20 (1959): 353–68.CrossRefGoogle Scholar
Bierhorst, John. The Mythology of North America. New York: Morrow, 1985.Google Scholar
Birdoff, Harry. The World’s Greatest Hit: Uncle Tom’s Cabin. New York: Vanni, 1947.Google Scholar
Blassingame, John. The Slave Community: Plantation Life in the Ante-Bellum South. New York: Oxford University Press, 1972.Google Scholar
Blumin, Stuart. The Emergence of the Middle Class: Social Experience in the American City, 1790–1900. Cambridge: Cambridge University Press, 1989.Google Scholar
Bode, Carl. The American Lyceum; Town Meeting of the Mind. New York: Oxford University Press, 1956.Google Scholar
Bogard, Travis, Moody, Richard, and Meserve, Walter J.The Revels History of Drama in English Vol. VIII. American Drama. London: Methuen, 1977.Google Scholar
Bogdan, Robert. Freak Show: Presenting Human Oddities for Amusement and ProfitChicago: University of Chicago Press, 1988.Google Scholar
Boorstin, Daniel J.The Americans: The National Experience. New York: Random House, 1965.Google Scholar
Booth, Michael, English Melodrama. London: Herbert Jenkins, 1965.Google Scholar
Booth, Michael, Hiss the Villain. New York: Benjamin Blom, 1964.Google Scholar
Booth, Michael, Prefaces to English Nineteenth-Century Theatre. Manchester: Manchester University Press, 1976.Google Scholar
Bordman, Gerald. Oxford Companion to American Theatre. 2nd ed. New York: Oxford University Press, 1992.Google Scholar
Boskin, Joseph. Sambo: The Rise and Demise of an American Jester. New York: Oxford University Press, 1986.Google Scholar
Bost, James. Monarchs of the Mimic World; or, The American Theatre of the Eighteenth Century Through the Managers – the Men Who Made It. Orono: University of Maine, 1977.Google Scholar
Boucicault, Dion. “The Art of Acting” In Mathews, , Papers on Acting, 137–60.
Boyer, Paul S.Urban Masses and Moral Order in America, 1820–1920. Cambridge: Harvard University Press, 1978.Google Scholar
Boyer, Paul S., et al. The Enduring Vision: A History of the American People, 2nd ed. Lexington: D. C. Heath, 1993.Google Scholar
Bradley, Edward Sculley. George Henry Boker, Poet and Patriot. Philadelphia: University of Pennsylvania Press, 1927.CrossRefGoogle Scholar
Braudy, Leo. The Frenzy of Renown: Fame and Its History. New York: Oxford University Press, 1986.Google Scholar
Breen, T. H.Creative Adaptations: Peoples and Cultures” In Greene, and Pole, , Colonial British America: Essays in the New History of the Early Modern Era, 195–232.
Breen, T. H.“‘Baubles of Britain’: The American and Consumer Revolutions of the Eighteenth CenturyPast and Present 119 (May 1988): 73–104.CrossRefGoogle Scholar
Breen, T. H.Puritans and Adventurers: Change and Persistence in Early America. New York: Oxford University Press, 1980.Google Scholar
Bridenbaugh, Carl. Cities in Revolt: Urban Life in America, 1743–1776. New York: Capricorn Books, 1955.Google Scholar
Bridenbaugh, Carl. Cities in the Wilderness: The First Century of Urban Life in America, 1625–1742New York: Ronald Press, 1938.Google Scholar
Brooks, John L.The Refiner’s Fire: The Making of Mormon Cosmology 1644–1844. Cambridge: Cambridge University Press, 1995.Google Scholar
Brooks, Mona. “The Development of American Theatre Management Practices between 1830 and 1896” Diss., Texas Technical University, 1981.Google Scholar
Brooks, Peter. The Melodramatic Imagination. New Haven: Yale University Press, 1976.Google Scholar
Brown, Jared. The Theatre in America during the Revolution. New York and Cambridge: Cambridge University Press, 1995.CrossRefGoogle Scholar
Brown, Richard D.Knowledge Is Power: The Diffusion of Information in Early America, 1700–1865. New York: Oxford University Press, 1989.Google Scholar
Brown, T. Allston. A History of the New York Stage. 3 vols. New York: Dick and Fitzgerald, 1870.Google Scholar
Brown, William Wells. From Fugitive Slave to Free Man: The Autobiographies of William Wells Brown. Ed. Andrews, William L.. New York: Mentor Books, 1993.Google Scholar
Brownlee, W. Elliot. Dynamics of Ascent: A History of the American Economy. New York: Knopf, 1974.Google Scholar
Brownstein, Rachel M.Tragic Muse: Rachel of the Comédie-Française. New York: Knopf, 1993.Google Scholar
Broyles, Michael. “Music of the Highest Class”: Elitism and Populism in Ante-bellum Boston. New Haven: Yale University Press, 1992.CrossRefGoogle Scholar
Bryan, George B.American Theatrical Regulation, 1607–1900: Conspectus and Texts. Metuchen, N.J., and London: Scarecrow Press, 1993.Google Scholar
Bryan, George B.Stage Lives: A Bibliography and Index to Theatrical Biographies. West-port, Conn.: Greenwood, 1985.Google Scholar
Buchard, John, and Bush-Brown, Albert. The Architecture of America: A Social and Cultural History. Boston: Little, Brown, 1961.Google Scholar
Buckley, Peter. “To the Opera House: Culture and Society in New York City, 1820–1860” Diss., State University of New York, Stony Brook, 1984.Google Scholar
Burbick, William. “Columbus, Ohio: Theater from the Beginning of the Civil War to 1875” Diss., Ohio State U, 1963.Google Scholar
Burge, James C.Lines of Business: Casting Practice and Policy in the American Theatre 1752–1899. New York: Peter Lang, 1986.Google Scholar
Bushman, Richard L.American High Style and Vernacular Cultures” In Greene, and Pole, , Colonial British America: Essays in the New History of the Early Modem Era, 345–83.
Bushman, Richard L.The Refinement of America: Persons, Houses, Cities. New York: Knopf, 1992.Google Scholar
Butsch, Richard. “American Theatre Riots and Class Relations, 1754–1849Theatre Annual48 (1995): 41–59.Google Scholar
Butsch, Richard. “Bowery B’hoys and Matinee Ladies: The Re-Gendering of Nineteenth-Century Theater AudiencesAmerican Quarterly 46 (1994): 374–405.CrossRefGoogle Scholar
Canary, Robert H.William Dunlap. New York: Twayne, 1970.Google Scholar
Carson, Ada Lou and Carson, Herbert L.. Royall Tyler. Boston: Twayne Publishers, 1979.Google Scholar
Carson, Jane. Colonial Virginians at Play. Williamsburg: Colonial Williamsburg Foundation, 1989.Google Scholar
Carson, William G. B.Managers in Distress. St. Louis, Mo.: St. Louis Historical Documents Foundation, 1949. Rpt. New York: Benjamin Blom, 1965.Google Scholar
Carson, William G. B.The Theatre on the Frontier; the Early Years of the St. Louis Stage. Chicago: University of Chicago Press, 1932.Google Scholar
Chandler, Alfred. The Visible Hand: The Managerial Revolution in American Business. Cambridge: Belknap Press of Harvard University Press, 1977.Google Scholar
Clapp, William W.A Record of the Boston Stage. Boston: J. Munroe, 1853.Google Scholar
Clark, Barrett H. gen. ed. America’s Lost Plays. 20 vols. Princeton: Princeton University Press, 1940–41. Rpt. Bloomington: Indiana University Press, 1963–65.Google Scholar
Clark, Barrett H. gen. ed. Favorite American Plays of the Nineteenth Century. Princeton: Princeton University Press, 1943.Google Scholar
Clark, Dennis. “Irish-Americans” In Buenker, John D. and Ratner, Lorman A., eds. Multiculturalism in the United States: A Comparative Guide to Acculturation and Ethnicity. Westport, Conn.: Greenwood Press, 1992, 77–102.Google Scholar
Click, Patricia C.The Spirit of the Times: Amusements in Nineteenth Century Baltimore, Norfolk, and Richmond. Charlottesville: University Press of Virginia, 1989.Google Scholar
Cmiel, Kenneth. Democratic Eloquence: The Fight over Popular Speech in Nineteenth-Century America. New York: Willicun Morrow, 1990.Google Scholar
Coad, Oral S., and Mims, Edwin Jr. The American Stage. New Haven: Yale University Press, 1929.Google Scholar
Coad, Oral S.William Dunlap. New York: The Dunlap Society 1917. Rpt. New York: Russell and Russell, 1962.Google Scholar
Cockrell, Dale. Demons of Disorder: Early Blackface Minstrels and Their World. New York and Cambridge: Cambridge University Press, 1997.Google Scholar
Cohn, William. “A National Celebration: The Fourth of July in American HistoryCultures 3 (1976): 141–56.Google Scholar
Collins, Bruce. White Society in the Antebellum South. New York: Longman, 1985.Google Scholar
Conolly, L. W., ed. Theatrical Touring and Founding in North America. Westport, Conn.: Greenwood, 1982.Google Scholar
Cooper, James Fenimore. Notions of the Americans. Philadelphia: Carey, Lea and Carey, 1828.Google Scholar
Cooper, James Fenimore. The Correpondence of Samuel L. Clemens and William Dean Howells, 1872–1910, Vol.2. Ed. Smith, Henry Nash and Gibson, William M.. Cambridge: Belknap Press of Harvard University Press, 1960.Google Scholar
Cott, Nancy F.The Bonds of Womanhood: “Woman’s Sphere” in New England, 1780–1835. New Haven: Yale University Press, 1977.Google Scholar
Cowell, Joe. Thirty Years Passed Among the Players in England and America. 2 vols. New York: Harper, 1844.Google Scholar
Cox, Jeffrey N.IntroductionSeven Gothic Dramas, 1789–1825. Athens: Ohio University Press, 1992.Google Scholar
Crawford, Mary Caroline. The Romance of the American Theatre. New York: Halcyon House, 1940.Google Scholar
Creahan, John. The Life of Laura Keene: Actress, Artist, Manager and Scholar. Philadelphia: Rodgers, 1897.Google Scholar
Cronon, William. Changes in the Land: Indians, Colonists and the Ecology of New England. New York: Hill and Wang, 1983.Google Scholar
Cross, Gilbert B.Next Week – East Lynne: Domestic Drama in Performance, 1820–1874. London: Associated University Press, 1977.Google Scholar
Culhane, John. The American Circus: An Illustrated History. New York: Henry Holt, 1990.Google Scholar
Curry, Jane Kathleen. Nineteenth-Century American Women Theatre Managers. Westport, Conn.: Greenwood, 1994.Google Scholar
Dahl, Curtis. Robert Montgomery Bird. New York: Twayne, 1963.Google Scholar
Davidson, Cathy N.Revolution and the Word: The Rise of the Novel in America. New York: Oxford University Press, 1987.Google Scholar
Davis, Peter A.Puritan Mercantilism and the Politics of Anti-theatrical Legislation in Colonial America” In Engle, and Miller, , eds., The American Stage: Social and Economic Issues from the Colonial Period to the Present, 18–29.
Davis, Susan G.Parades and Power: Street Theatre in Nineteenth Century Philadelphia. Philadelphia: Temple University Press, 1986.Google Scholar
Day, Charles. “An Early Combination: A Summer Tour with Laura Keene and Her New York CompanyNew York Dramatic Mirror, 31 August 1901.Google Scholar
Deloria, Philip. “Playing the Indian: Otherness and Authenticity in the Assumption of American Indian Identity” Diss., Yale University, 1994.Google Scholar
D’Emilio, John, and Estelle, Freedman. Intimate Matters: A History of Sexuality in America. New York: Harper and Row, 1988.Google Scholar
Denning, Michael. Mechanic Accents: Dime Novels and Working-Class Culture in America. London: Verso, 1987.Google Scholar
Deutsch, Helen. “Laura Keene’s Theatriccil Management” Diss., Tufts U, 1992.Google Scholar
Diderot, Denis. “The Paradox of the Actor” In Selected Writings on Art and Literature. Ed. Bremmer, Geoffrey. London: Penguin, 1994, 98–158.Google Scholar
Dix, William S.The Theatre in Cleveland, Ohio, 1854–1875” Diss., University of Chicago, 1946.Google Scholar
Dizikes, John. Opera in America: A Cultural History. New Haven: Yale University Press, 1993.Google Scholar
Donohue, Joseph W. Jr., ed. The Theatrical Manager in England and America. Princeton: Princeton University Press, 1971.Google Scholar
Dormon, James H.Theater in the Ante Bellum South, 1815–1861. Chapel Hill: University of North Carolina Press, 1967.Google Scholar
Doty, Gresdna A.The Career of Mrs. Anne Brunton Merry in the American Theatre. Baton Rouge: Louisiana State University Press, 1971.Google Scholar
Dowd, Gregory Evans. A Spirited Resistance: The North American Struggle for Unity, 1745–1815. Baltimore and London: Johns Hopkins University Press, 1992.Google Scholar
Downer, Alan S.American Drama. New York: Thomas Y. Crowell, 1960.Google Scholar
Downer, Alan S.The Eminent Tragedian: William Charles Macready. Cambridge: Harvard University Press, 1966.CrossRefGoogle Scholar
Du Bois, W. E. B.The Souls of Black Folk. New York: Vintage Books, 1903. Rpt., 1986.Google Scholar
Dudden, Faye E.Women in the American Theatre: Actresses and Audiences, 1790–1870. New Haven: Yale University Press, 1994.Google Scholar
Duerr, Edwin. “Charles Ciceri and the Background of American Scene Design.” Theatre Arts Monthly 16 (1932): 983–94.Google Scholar
Duerr, Edwin. The Length and Depth of Acting. New York: Holt, Rinehart and Winston, 1962.Google Scholar
Dulles, Foster Rhea. A History of Recreation: America Learns to Play, 2nd ed. New York: Meredith, 1965.Google Scholar
Dunlap, William. A History of the American Theatre. 2 vols. New York: Harper, 1832. Rpt. in 1 vol., New York: Burt Franklin, 1963.Google Scholar
Dunlap, William. Diary of William Dunlap (1766–1839): The Memoirs of a Dramatist, Theatrical Manager, Painter, Critic, Novelist, and Historian. See Barck, .
Dunlap, William. Life of George Frederick Cooke. 2 vols. London: H. Colburn, 1815.Google Scholar
Durang, Charles. The Philadelphia Stage from 1749–1855. 7 vols. Philadelphia: Philadelphia Sunday Dispatch, 1854–55 (arranged and illus. by Thompson, Westcott, 1868).Google Scholar
Durang, John. The Memoir of John Durang, American Actor, 1787–1816. Ed. Alan, S. Downer. Pittsburgh: University of Pittsburgh Press, 1966.Google Scholar
Durham, Weldon B., ed. American Theatre Companies, 1749–1887. Westport, Conn.: Greenwood Press, 1986.Google Scholar
Dyer, Richard. Heavenly Bodies: Film Stars and Society. New York: St. Martin’s Press, 1986.Google Scholar
Eagleton, Terry. The Ideology of the Aesthetic. Oxford: Basil Blackwell, 1990.Google Scholar
Earle, Alice Morse. Customs and Fashions in Old New England. New York: Scribner’s, 1893.Google Scholar
Elliott, Craig. “Annals of the Legitimate Theatre in Victoria, Canada from the Beginning to 1900.” Diss., University of Washington, 1969.Google Scholar
Ellison, Ralph. “What America Would Be Like Without Blacks.” In Going to the Territory. New York: Random House, 1987, 104–12.Google Scholar
Ellsler, John A.The Stage Memories of John A. Ellsler. Ed. Effie, Ellsler Weston. Cleveland: Rowfant Club, 1950.Google Scholar
Emerson, Everett, ed. American Literature, 1764–1789: The Revolutionary Years. Madison: University of Wisconsin Press, 1977.Google Scholar
Engle, Ron, and Miller, Tice L., eds. The American Stage: Social and Economic Issues from the Colonial Period to the Present. New York: Cambridge University Press, 1993.Google Scholar
Epstein, Dena J.Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Urbana: University of Illinois Press, 1978.Google Scholar
Evans, Chad. Frontier Theatre: A History of Nineteenth Century Theatrical Entertainment in the Canadian Far West and Alaska. Victoria: Sono Nis, 1983.Google Scholar
Evans, Oliver H.George Henry Boker. Boston: Twayne, 1964.Google Scholar
Faron, Henry Bradshaw. Sketches of America. London: Longman, Rees, Orme, and Brown, 1818.Google Scholar
Farrison, W. E.William Wells Brown, Author and Reformer. Chicago: University of Chicago Press, 1969.Google Scholar
Faust, Clement E.The Life and Dramatic Works of Robert Montgomery Bird. New York: Knickerbocker, 1919.Google Scholar
Fawkes, Richard. Dion Boucicault. London: Quartet Books, 1979.Google Scholar
Fearnow, Mark. “American Colonial Disturbances as Political Theatre.” Theatre Survey 33 (1992): 53–64.CrossRefGoogle Scholar
Felheim, Marvin. The Theatre of Augustin Daly. Cambridge: Harvard University Press, 1956.CrossRefGoogle Scholar
Fiedler, Leslie. Love and Death in the American Novel. New York: Stein and Day, 1966.Google Scholar
Finley, James. Sketches of Western Methodism. Ed. Strickland, W. P.. Cincinnati: Methodist Book Concern, 1854.Google Scholar
Finney, Charles Grandison. Lectures on Revivals of Religion. Ed. McLoughlin, William G.. Cambridge: Belknap Press of Harvard University Press, 1960.CrossRefGoogle Scholar
Fischer, David Hackett. Albion’s Seed: Four British Folkways in America. New York and Oxford: Oxford University Press, 1989.Google Scholar
Fisher, Judith L., and Watts, Stephen, eds. When They Weren’t Doing Shakespeare: Essays on Nineteenth-Century British and American Theatre. Athens: University of Georgia Press, 1989.Google Scholar
Fishkin, Shelley Fisher. Was Huck Black? Mark Twain and African-American Voices. New York: Oxford University Press, 1993.Google Scholar
Fitzhugh, William W., ed. Cultures in Contact: The Impact of European Contacts on Native American Cultural Institutions, A.D. 1000–1800. Washington: Smithsonian Institution Press, 1985.Google Scholar
Fletcher, Stevenson. Pennsylvania Agriculture and Country Life. Harrisburg: Pennsylvania Historical and Museum Commission, 1950–55.Google Scholar
Fliegelman, Jay. Declaring Independence: Jefferson, Natural Language and the Culture of Performance. Stanford: Stanford University Press, 1993.Google Scholar
Flint, Richard. “A Selected Guide to Source Material on the American Circus.” Journal of Popular Culture 6 (1972): 615–19.Google Scholar
Foner, Eric. Free Soil, Free Labor, Free Men: The Ideology of the Republican Party before the Civil War. Oxford: Oxford University Press, 1970.Google Scholar
Frantzen, Allen J.Desire for Origins: New Language, Old English, and Teaching the Tradition. New Brunswick: Rutgers University Press, 1990.Google Scholar
Free, Joseph Miller. “Studies in American Theatre History: The Theatre of Southwest Mississippi to 1840.” Diss., University of Iowa, 1941.Google Scholar
Freneau, Philip. “Advice for Authors.” In Miscellaneous Works of Mr. Philip Freneau, Containing His Essays and Additional Poems. Philadelphia, 1788.Google Scholar
Frick, John W.New York’s First Theatrical Center: The Rialto at Union Square. Ann Arbor, Mich.: UMI Research Press, 1985.Google Scholar
Frisbie, Charlotte, ed. Southwestern Indian Ritual Drama. Albuquerque: University of New Mexico Press, 1980.Google Scholar
Furnas, J. C.Fanny Kemble: Leading Lady of the Nineteenth-Century Stage. New York: Dial Press, 1982.Google Scholar
Furtwangler, Albert. Assassin on Stage: Brutus, Hamlet, and the Death of Lincoln. Urbana: University of Illinois Press, 1991.Google Scholar
Gagey, Edmond M.The San Francisco Stage. New York: Columbia University Press, 1950.Google Scholar
Gaiser, Gerhard. “The History of the Cleveland Theatre from the Beginnings to 1854.” Diss., University of Iowa, 1953.Google Scholar
Gallagher, Kent. The Foreigner in Early American Drama. The Hague: Mouton, 1966.Google Scholar
Galloway, Patricia, ed. The Southeastern Ceremonial Complex: Artifacts and Analysis. Lincoln: University of Nebraska Press, 1989.Google Scholar
Garrett, Kurt. “The Flexible Loyalties of American Actors in the Eighteenth Century.” Theatre Journal 32 (1980): 223–34.CrossRefGoogle Scholar
Gates, William B.The Theatre in Natchez.” Journal of Mississippi History 3 (1941): 71–129.Google Scholar
Genovese, Eugene D.Roll, Jordan, Roll: The World the Slaves Made. New York: Vintage, 1974.Google Scholar
Gilje, Paul L.The Road to Monocracy: Popular Disorder in New York City, 1763–1834. Chapel Hill: University of North Carolina Press, 1987.Google Scholar
Gillette, William. “The Illusion of the First Time in Acting.” In Mathews, , Papers on Acting, 115–35.
Glazer, Irvin R.Philadelphia Theaters: A Pictorial Architectural History. New York: Dover, 1994.Google Scholar
Gohdes, Clarence. Literature and Theatre of the States and Regions of the USA: An Historical Bibliography. Durham: Duke University Press, 1967.Google Scholar
Goldberg, Issac. Major Noah: American Jewish Pioneer. New York: Knopf, 1936.Google Scholar
Goodfriend, Joyce D.Before the Melting Pot: Society and Culture in Colonial New York City. Princeton: Princeton University Press, 1991.Google Scholar
Gorn, Elliott J., and Goldstein, Warren. A Brief History of American Sports. New York: Hill and Wang, 1993.Google Scholar
Gossett, T. F.Uncle Tom’s Cabin and American Culture. Dallas: Southen Methodist University Press, 1985.Google Scholar
Gould, Thomas R.The Tragedian: An Essay on the Histrionic Genius of Junius Brutus Booth. New York: Hurd and Houghton, 1868.Google Scholar
Graham, Philip. Showboats: The History of an American Institution. Austin: University of Texas Press, 1951.Google Scholar
Graydon, Alexander. Memoirs of a Life, Chiefly Passed in Pennsylvania, Within the Last Sixty Years. Edinburgh: W Blackwood, 1822.Google Scholar
Greenberg, Kenneth. Masters and Statesmen: The Political Culture of American Slavery. Baltimore: Johns Hopkins University Press, 1985.Google Scholar
Greene, Jack P.Pursuits of Happiness: The Social Development of Early Modern British Colonies and the Formation of American Culture. Chapel Hill: University of North Carolina Press, 1988.Google Scholar
Greene, Jack P., and Pole, J. R., eds. Colonial British America: Essays in the New History of the Early Modern Era. Baltimore: Johns Hopkins University Press, 1984.Google Scholar
Greenwood, Isaac J.The Circus; Its Origins and Growth Prior to 1835. With a Sketch of Negro Minstrelsy, 2nd ed. with additions. New York: William Abbatt, 1909.Google Scholar
Grimsted, David. Melodrama Unveiled: American Theater and Culture 1800–1850. Chicago: University of Chicago Press, 1968.Google Scholar
Grisvard, Larry. “The Final Years: The Ludlow and Smith Theatrical Firms in St. Louis, 1845–1851.” Diss., Ohio State University, 1965.Google Scholar
Groce, George C., and Wallace, David H.. Dictionary of Artists in America, 1564–1860. New Haven: Yale University Press, 1957.Google Scholar
Grund, Francis. The Americans in Their Moral, Social, and Political Relations. Boston, 1837.Google Scholar
Haberly, Lloyd. “The American Museum from Baker to Barnum.” New-York Historical Society Quarterly 43 (1959): 273–87.Google Scholar
Hall, David D.Worlds of Wonder, Days of Judgment: Popular Religious Belief in Early New England. Cambridge: Harvard University Press, 1990.Google Scholar
Hall, Gwendolyn Midlo. Africans in Colonial Louisiana: The Development of Afro-Creole Culture in the Eighteenth Century. Baton Rouge: Louisiana State University Press, 1992.Google Scholar
Halttunen, Karen. Confidence Men and Painted Women: A Study of Middle-Class Culture in America, 1830–1870. New Haven: Yale University Press, 1982.Google Scholar
Hamm, Charles. Music in the New World. New York: W. W. Norton, 1983.Google Scholar
Hanson, Russell L.The Democratic Imagination in America. Princeton: Princeton University Press, 1985.CrossRefGoogle Scholar
Harris, Neil. Humbug: The Art of P. T Barnum. Boston: Little, Brown, 1973.Google Scholar
Harris, Neil. The Artist in America: The Formative Years, 1790–1860. New York: George Braziller, 1966.Google Scholar
Hartman, John Geoffrey. The Development of American Social Comedy, 1787–1936. New York: Octagon Books, 1971.Google Scholar
Haskell, Thomas. “Capitalism and the Origins of the Humanitarian Sensibility.” American Historical Review 90 (1985): 339–61, 547–66.CrossRefGoogle Scholar
Haswell, Charles. Reminiscences of an Octogenarian. New York: Harper and Bros., 1897.Google Scholar
Hatch, James V.Some African Influences on the Afro-American Theatre.” In The Theatre of Black Americans: A Collection of Critical Essays. New York: Applause Books, 1987.Google Scholar
Hatch, James V.The Black Image on the American Stage. New York: Drama Book Specialists, 1970.Google Scholar
Hatch, Nathan O.The Democratization of American Christianity. New Haven: Yale University Press, 1989.Google Scholar
Havens, Daniel F.The Columbian Muse of Comedy: The Development of a Native Tradition of Early American Social Comedy, 1787–1845. Carbondale: Southern Illinois University Press, 1973.Google Scholar
Hawke, David F.Early Life in Everyday America. New York: Harper and Row, 1988.Google Scholar
Hay, Robert. “Freedom’s Jubilee: One Hundred Years of the Fourth of July.” Diss., University of Kentucky, 1967.Google Scholar
Hay, Samuel A.African American Theatre: A Historical and Critical Analysis. New York and Cambridge: Cambridge University Press, 1994.CrossRefGoogle Scholar
Hazlitt, William. Complete Works. 5 vols. London and Toronto: Dent, 1930.Google Scholar
Heilman, Robert B.Tragedy and Melodrama. Seattle: University of Washington, 1968.Google Scholar
Henderson, Mary C.The City and the Theatre; New York Playhouses from Bowling Green to Times Square. Clifton, N.J.: J. T. White, 1973.Google Scholar
Henderson, Mary C.Theater in America : 200 Years of Plays, Players, and Productions. H. N. Abrams, 1986; 2nd ed., 1996.Google Scholar
Henderson, Myrtle E.A History of the Theatre in Salt Lake City from 1850 to 1870. Salt Lake City: Deseret Book Co., 1941.Google Scholar
Henneke, Ben Graf. “The Playgoer in America (1752–1952).” Diss., University of Illinois, 1956.Google Scholar
Henneke, Ben Graf. Laura Keene: A Biography. Tulsa: Council Oaks Books, 1990.Google Scholar
Herbstruth, Grant. “Benedict DeBar and the Grand Opera House in St. Louis, Missouri, from 1855 to 1879.” Diss., University of Iowa, 1954.Google Scholar
Herold, Amos L.James Kirke Paulding: Versatile American. New York: Columbia University Press, 1926.Google Scholar
Herring, Frances E.In the Pathless West with Soldiers, Pioneers, Miners, and Savages. London: T. Fisher Unwin, 1904.Google Scholar
Heth, Charlotte, ed. Native American Dance: Ceremonies and Social Traditions. Washington, D.C.: Smithsonian Institution with Starwood Publishing, 1993.Google Scholar
Hewitt, Barnard. “‘King Stephen’ of the Park and Drury Lane.” The Theatrical Manager in England and America, Player of a Perilous Game. Ed. Joseph, W. Donohue. 87–141.
Hewitt, Barnard. Theatre U.S.A., 1665–1957. New York: McGraw-Hill, 1959.Google Scholar
Higham, John. Strangers in the Land: Patterns of American Nativism 1860–1925. New York: Atheneum, 1955; 2nd ed., 1963.Google Scholar
Highfill, Philip Jr.The British Background of the American Hallams.” Theatre Survey 11 (1970): 1–35.CrossRefGoogle Scholar
Higonnet, Patrice. Sister Republics: The Origins of French and American Republicanism. Cambridge: Harvard University Press, 1988.CrossRefGoogle Scholar
Hill, Errol, ed. The Theatre of Black Americans: A Collection of Critical Essays. New York: Applause Theatre Books, 1987.Google Scholar
Hill, Errol. Shakespeare in Sable: A History of Black Shakespearean Actors. Amherst: University of Massachusetts Press, 1984.Google Scholar
Hill, Errol. The Jamaican Stage 1655–1900: Profile of a Colonial Theatre. Amherst: University of Massachusetts Press, 1992.Google Scholar
Hill, West T. Jr.The Theatre in Early Kentucky 1790–1820. Lexington: University Press of Kentucky, 1971.Google Scholar
Hillebrand, Harold Newcomb. Edmund Kean. New York: Columbia University Press, 1933.Google Scholar
Hinke, William J., ed. and trans. “Report of the Journey of Francis Louis Michel from Berne, Switzerland, to Virginia, October 2, 1701-December 1, 1702.” Virginia Magazine 24 (1916).Google Scholar
Hixon, Don L., and Hennessee, Don A.. Nineteenth-Century American Drama: A Finding Guide. Metuchen, N.J.: Scarecrow, 1977.Google Scholar
Hobsbawm, E. J.The Age of Capital, 1848–1875. New York: New American Library, 1979.Google Scholar
Hodge, Francis. The Yankee Theatre: The Image of America on the Stage, 1825–1850. Austin: University of Texas Press, 1964.Google Scholar
Hoffman, Ronald, and Albert, Peter J.. Women in the Age of the American Revolution. Charlottesville: University of Virginia Press, 1989.Google Scholar
Hofstadter, Richard. America at 1750: A Social Portrait. New York: Vintage Books, 1973.Google Scholar
Hogan, Robert. Dion Boucicault. New York: Twayne, 1969.Google Scholar
Hone, Philip. The Diary of Philip Hone, 1828–1851. Ed. Allan, Nevins. New York: Dodd, Mead, 1927.Google Scholar
Hoole, W. S.The Ante-Bellum Charleston Theatre. Tuscaloosa: University of Alabama Press, 1946.Google Scholar
Hornblow, Arthur. A History of the Theatre in America. 2 vols. Philadelphia: J. B. Lippin-cott, 1919.Google Scholar
Horner, Charles F.The Life of James Redpath and the Development of the Modern Lyceum. New York: Barse and Hopkins, 1926.Google Scholar
Horsman, Reginald. Race and Manifest Destiny: The Origins of American Racial Anglo-Saxonism. Cambridge: Harvard University Press, 1981.Google Scholar
Hudson, Charles, and Tesser, Carmen, eds. The Forgotten Centuries: Indians and Europeans in the American South, 1521–1704. Athens: University of Georgia Press, 1994.Google Scholar
Hughes, Glenn. A History of the American Theatre, 1700–1950. New York: Samuel French, 1951.Google Scholar
Hultkrantz, AkeNative Religions of North America. San Francisco: Harper, 1987.Google Scholar
Hultkrantz, Ake. Belief and Worship in Native North America. Syracuse: Syracuse University Press, 1981.Google Scholar
Hume, Charles. “The Sacramento Theatre, 1849–1885.’ Diss., Stanford, 1955.Google Scholar
Hunt, Douglas L.The Nashville Theatre, 1830–1840.” Birmingham-Southern College Bulletin 28 (1935): 1–89.Google Scholar
Hunter, G. K.Othello and Colour Prejudice.” In Dramatic Identities and Cultural Tradition. New York: Barnes and Noble, 1978, 31–59.Google Scholar
Ireland, Joseph N.A Memoir of the Professional Life of Thomas Abthorpe Cooper. New York: The Dunlap Society, 1888.Google Scholar
Ireland, Joseph N.Mrs. Duff. Boston: J. R. Osgood, 1882.Google Scholar
Ireland, Joseph N.Records of the New York Stage, from 1750 to 1860, 2 vols. New York: T. H. Morrell, 1866–67.Google Scholar
Irvin, Eric. “Laura Keene and Edwin Booth in Australia.” Theatre Notebook 23 (1969): 95–100.Google Scholar
Isaac, Rhys. The Transformation of Virginia, 1740–1790. Chapel Hill: University of North Carolina Press, 1982.Google Scholar
Jaher, Fredric Cople. The Urban Establishment: Upper Strata in Boston, New York, Charleston, Chicago, Los Angeles. Urbana: University of Illinois Press, 1982.Google Scholar
James, Reese Davis. Cradle of Culture, 1800–1810; The Philadelphia Stage. Philadelphia: University of Pennsylvania Press, 1957.CrossRefGoogle Scholar
Jay, Ricky. Learned Pigs and Fireproof Women. New York: Villard Books, 1986.Google Scholar
Jefferson, Joseph. The Autobiography of Joseph Jefferson (1890). Ed. Downer, Alan S.. Cambridge: Belknap Press of Harvard University Press, 1964.CrossRefGoogle Scholar
Jefferson, Thomas. Notes on the State of Virginia. Ed. Peden, William. New York: Norton, 1972.Google Scholar
Jennings, Francis, ed. The History and Culture of Iroquois Diplomacy. Syracuse: Syracuse University Press, 1985.Google Scholar
Jennings, Francis, ed. The Invasion of America: Indians, Colonialism, and the Cant of Conquest. Chapel Hill: University of North Carolina Press, 1975.Google Scholar
Johnson, Claudia D.American Actress: Perspective on the Nineteenth Century. Chicago: Nelson-Hall, 1984.Google Scholar
Johnson, Paul E.A Shopkeeper’s Millennium: Society and Revivals in Rochester, New York, 1815–1837. New York: Hill and Wang, 1978.Google Scholar
Jones, Cecil. “The Policies and Practices of Wallack’s Theatre: 1852–88.” Diss., University of Illinois, 1959.Google Scholar
Jones, Gareth Stedman. “Class Expression versus Social Control? A Critique of Recent Trends in the Social History of ‘Leisure’.” History Workshop 4 (1977): 163–70.CrossRefGoogle Scholar
Jordan, Cynthia S.‘Old Words’ in ‘New Circumstances’: Language and Leadership in Post-Revolutionary America.” American Quarterly 40 (1988): 491–513.CrossRefGoogle Scholar
Jordan, Philip D.Singin’ Yankees. Minneapolis: University of Minnesota Press, 1946.Google Scholar
Josephy, Alvin M. Jr., America in 1492: The World of the Indian Peoples before the Arrival of Columbus. New York: Knopf, 1992.Google Scholar
Josephy, Alvin M. Jr., 500 Nations: An Illustrated History of North American Indians. New York: Knopf, 1994.Google Scholar
Jowitt, Deborah. Time and the Dancing Image. New York: Morrow, 1988.Google Scholar
Judd, Doctor. “The Old School of Actors.” Billboard 10 (September 1904). Reprinted in JosephCsida, June, eds., American Entertainment: A Unique History of Popular Show Business. New York: Watson-Guptill, 1978, 33.Google Scholar
Kammen, Michael. Mystic Chords of Memory: The Transformation of Tradition in American Culture. New York: Knopf, 1991.Google Scholar
Kanellos, Nicholas. A History of Hispanic Theatre in the United States: Origins to 1940. Austin: University of Texas Press, 1990.Google Scholar
Kasson, John F.Rudeness and Civility: Manners in Nineteenth-Century Urban America. New York: Hill and Wang, 1990.Google Scholar
Keats, John. “On Edmund Kean as a Shakespearean Actor.” Poetical Works and Other Writings. 8 vols. Ed. Forman, H. Buxton. New York: Phaeton, 1970.Google Scholar
Keeton, Guy H.The Theatre in Mississippi from 1840 to 1870.” Diss., Louisiana State University, 1979.Google Scholar
Kemble, Fanny. Fanny Kemble: Journal of a Young Actress. Ed. Gough, Monica. New York: Columbia University Press, 1990.Google Scholar
Kemble, Fanny. Records of a Girlhood. New York: Henry Holt, 1879.Google Scholar
Kendall, John S.The Golden Age of the New Orleans Theater. Baton Rouge: Louisiana State University Press, 1952.Google Scholar
Kerber, Linda. Women of the Republic: Intellect and Ideology in Revolutionary America. Chapel Hill: University of North Carolina Press, 1980.Google Scholar
Kinser, Samuel. Carnival, American Style: Mardi Gras at New Orleans and Mobile. Chicago: University of Chicago Press, 1990.Google Scholar
Kitts, Thomas M.The Theatrical Life of George Henry Boker. New York: Peter Lang, 1994.Google Scholar
Klepac, Richard L.Mr. Mathews at Home. London: Society for Theatre Research, 1979.Google Scholar
Knight, Stephen. Form and Ideology in Crime Fiction. Bloomington: Indiana University Press, 1980.CrossRefGoogle Scholar
Knobel, Dale T.Paddy and the Republic: Ethnicity and Nationality in Antebellum America. Middletown: Wesleyan University Press, 1986.Google Scholar
Knoper, Randall. Acting Naturally: Mark Twain in the Culture of Performance. Berkeley: University of California Press, 1995.Google Scholar
Kohl, Lawrence F.The Politics of Individualism: Parties and the American Character in the Jacksonian Era. New York: Oxford University Press, 1989.Google Scholar
Kollek, Peter. Bogumil Dawison: Portrdt und Deutung eines genialen Schauspielers. Kastellaun: Henn, 1978.Google Scholar
Kritzer, Amelia Howe, ed. Plays by Early American Women, 1775–1850. Ann Arbor: University of Michigan Press, 1995.CrossRefGoogle Scholar
Kulikoff, Allan. Tobacco and Slaves: The Development of Southern Culture in the Chesapeake, 1680–1800. Chapel Hill: University of North Carolina Press, 1986.Google Scholar
Kunhardt, Philip B. Jr., Kunhardt, Philip B. III, and Kunhardt, Peter W.. P. T Barnum: America’s Greatest Showman. New York: Knopf, 1995.Google Scholar
Lambourne, Alfred. A Trio of Sketches: Being Reminiscences of the Theater Green Room and the Scene-painter’s Gallery from Suggestions in “A Play-house.” Salt Lake City, n.d.
Larkin, Jack. The Reshaping of Everyday Life, 1790–1840. New York: Harper and Row, 1988.Google Scholar
Larson, Carl F. W.American Regional Theatre History to 1900: A Bibliography. Metuchen, N.J.: Scarecrow Press, 1979.Google Scholar
Lascelles, E. C. P.The Life of Charles James Fox. New York: Oxford University Press, 1936.Google Scholar
Laubin, Reginald, and Laubin, Gladys. Indian Dances of North America: Their Importance to Indian Life. Norman: University of Oklahoma Press, 1977.Google Scholar
Laurie, Bruce. Artisans into Workers: Labor in Nineteenth-Century America. New York: Hill and Wang, 1989.Google Scholar
Lawrence, Vera Brodsky. Strong on Music: The New York Music Scene in the Days of George Templeton Strong, 1836–1875. New York: Oxford University Press, 1988.Google Scholar
Leach, Joseph. Bright Particular Star: The Life and Times of Charlotte Cushman. New Haven: Yale University Press, 1970.Google Scholar
Leacroft, Richard. The Development of the English Playhouse. Ithaca, N.Y.: Cornell University Press, 1973.Google Scholar
Leavitt, Michael. Fifty Years in Theatrical Management. New York: Broadway Publishing, 1912.Google Scholar
Leech, Clifford, and Craik, T. W., eds. The Revels History of Drama in English. London: Methuen; New York: Barnes and Noble, 1976–83.Google Scholar
Leman, Walter. Memories of an Old Actor. San Francisco: A. Roman, 1886; Rpt. New York: Benjamin Blom, 1969.Google Scholar
Leuchs, Frederick. The Early German Theatre in New York: 1840–1872. New York: Columbia University Press, 1966.Google Scholar
Levine, Lawrence W.Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom. New York: Oxford University Press, 1977.Google Scholar
Levine, Lawrence W.Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge: Harvard University Press, 1986.Google Scholar
Lincoln, Abraham. Speeches and Writings, 1859–1865. Ed. Don, E.Fehrenbacher. N.p: Library of America, 1989.Google Scholar
Litto, Fredrick M.American Dissertations on the Drama and Theatre: A Bibliography. Kent: Kent State University Press, 1969.Google Scholar
Long, Hudson E.American Drama from Its Beginnings to the Present. New York: Appleton-Century-Crofts, 1970.Google Scholar
Longmore, Paul K.The Invention of George Washington. Berkeley: University of California Press, 1988.Google Scholar
Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press, 1977.Google Scholar
Ludlow, Noah M.Dramatic Life as I Found It. 1880; Rpt. New York: Benjamin Bloom, 1966.Google Scholar
Ludwig, Jay. “James H. McVicker and His Theatre.” Quarterly Journal of Speech 46 (1960): 14–25.CrossRefGoogle Scholar
Ludwig, Jay. “McVicker’s Theatre: 1857–1896.” Diss., University of Illinois, 1958.Google Scholar
Lynch, James J.Box, Pit and Gallery; Stage and Society in Johnson’s London. Berkeley: University of California Press, 1953.Google Scholar
Lystra, Karen. Searching the Heart: Women, Men, and Romantic Love in Nineteenth-Century America. New York: Oxford University Press, 1989.Google Scholar
MacMinn, George R.The Theater of the Golden Era in California. Caldwell: Caxton, 1941.Google Scholar
Macready, William C.The Diaries of William Charles Macready. 2 vols. Ed. Toynbee, William. London: Chapman and Hall, 1912.Google Scholar
Maher, William J.Behind the Burnt Cork Mask: Early Blackface Minstrelsy and the Formation of Antebellum American Popular Culture. Urbana: University of Illinois, forthcoming 1998.Google Scholar
Malcolmson, Robert. Popular Recreations in English Society, 1700–1850. Cambridge: Cambridge University Press, 1973.Google Scholar
Mammen, Edward William. The Old Stock Company School of Acting: A Study of the Boston Museum. Boston: Trustees of the Public Library, 1945.Google Scholar
Mankowitz, Wolf. Mazeppa: The Lives, Loves, and Legends of Adah Isaacs Menken. New York: Stein and Day, 1982.Google Scholar
Margetts, Ralph. “A Study of the Theatrical Career of Julia Dean Hayne.” Diss., University of Utah, 1959.Google Scholar
Marshall, Herbert, and Stock, Mildred. Ira Aldridge: The Negro Tragedian. Carbondale and Edwardsville: Southern Illinois University Press, 1958.Google Scholar
Martin, Joel. Sacred Revolt: The Muskogees’ Struggle for a New World. Boston: Beacon Press, 1991.Google Scholar
Martin, Scott Christopher. “Leisure in Southern Pennsylvania, 1800–1850.” Diss., University of Pittsburgh, 1990.Google Scholar
Mason, Alexander H.French Theatre in New York. New York: Columbia University Press, 1940.Google Scholar
Mason, Jeffrey D.Melodrama and the Myth of America. Bloomington: Indiana University Press, 1993.Google Scholar
Mathews, Charles James. The Life of Charles James Mathews. Ed. Dickens, Charles. 2 vols. London, 1879.Google Scholar
Matlaw, Myron, ed. American Popular Entertainment. Westport, Conn., and London: Greenwood Press, 1979.Google Scholar
Matlaw, Myron, ed. Nineteenth-Century American Plays. New York: Applause Theatre Books, 1985.Google Scholar
Matlaw, Myron, ed. The Black Crook and Other Nineteenth-Century American Plays. New York: Dutton, 1967.Google Scholar
Matthews, Brander, and Hutton, Lawrence, eds. Actors and Actresses of Great Britain and the United States: From the Days of Garrick to the Present Time. 5 vols. New York: Cassell, 1886.Google Scholar
Matthews, Brander, and Hutton, Lawrence, eds. The Kembles and Their Contemporaries. Boston: L. C. Page, 1900.Google Scholar
Matthews, Brander, ed. Papers on Acting. New York: Hill and Wang, 1958.Google Scholar
Mays, David D.The Achievements of the Douglass Company in North America: 1758–1774.” Theatre Survey 23 (1982): 141–49.CrossRefGoogle Scholar
McArthur, Benjamin. Actors and American Culture, 1880–1920. Philadelphia: Temple University Press, 1984.Google Scholar
McClung, Gales S., and McClung, Robert M.. “Tammany’s Remarkable Gardiner Baker.” New-York Historical Society Quarterly 43 (1958): 143–69.Google Scholar
McConachie, Bruce A.Out of the Kitchen and into the Marketplace: Normalizing Uncle Tom’s Cabin for the Antebellum Stage.” Journal of American Drama and Theatre 3 (1991): 5–28.Google Scholar
McConachie, Bruce A.The Cultural Politics of ‘Paddy’ on the Midcentury American Stage.” Studies in Popular Culture 10 (1987): 1–13.Google Scholar
McConachie, Bruce A.Melodramatic Formations: American Theatre and Society, 1820–1870. Iowa City: University of Iowa Press, 1992.CrossRefGoogle Scholar
McCoy, Drew. The Elusive Republic: Political Economy in Jeffersonian America. Chapel Hill: University of North Carolina Press, 1980.Google Scholar
McCullough, Bruce W.The Life and Writings of Richard Penn Smith with a Reprint of His Play “The Deformed,” 1830. Menasha, Ala.: Banta, 1917.Google Scholar
McCullough, Jack W.Living Pictures on the New York Stage. Ann Arbor: UMI Research Press, 1983.Google Scholar
McDermott, Douglas, and Sarlos, Robert. “The Impact of Working Conditions upon Acting Style.” Theatre Research International 20 (1995): 231–36.Google Scholar
McDermott, Douglas. “The Development of Theatre on the American Frontier, 1750–1890.” Theatre Survey 19 (1978): 63–78.CrossRefGoogle Scholar
McDermott, Douglas. “The Theatre and Its Audience: Changing Modes of Social Organization in the American Theatre.” In Engle, and Miller, , eds., The American Stage, 6–17.
McNamara, Brooks. Day of Jubilee: The Great Age of Public Celebration in New York, 1788–1909. New Brunswick, N.J.: Rutgers University Press, 1997.Google Scholar
McNamara, Brooks. The American Playhouse in the Eighteenth Century. Cambridge: Harvard University Press, 1969.CrossRefGoogle Scholar
McNeil, Barbara, and Herbert, Miranda C., eds. Performing Arts Biography Master Index, 2nd ed. Detroit: Gale Research, 1981.Google Scholar
McPherson, James M.Battle Cry of Freedom: The Civil War Era. New York: Oxford University Press, 1988.Google Scholar
McVicker, James H.The Theatre: Its Early Days in Chicago. Chicago: Knight and Leonard, 1884.Google Scholar
Mead, David. Yankee Eloquence in the Middle West; The Ohio Lyceum, 1850–1870. East Lansing: Michigan State College Press, 1951. Rpt. Westport, Conn.: Greenwood Press, 1977.Google Scholar
Meinig, D. W.The Shaping of America, Vol. 1: Atlantic America, 1492–1800. New Haven: Yale University Press, 1986.Google Scholar
Meserve, Walter J.American Drama to 1900. Detroit: Gale Research, 1980.Google Scholar
Meserve, Walter J.An Emerging Entertainment: The Drama of the American People to 1828. Bloomington: Indiana University Press, 1977.Google Scholar
Meserve, Walter J.An Outline History of American Drama. Totowa: Littlefield, Adams, 1965; 2nd ed., New York: Freedback Theatrebooks and Prospero Press, 1994.Google Scholar
Meserve, Walter J.Heralds of Promise: The Drama of the American People in the Age of Jackson, 1829–1849. Westport, Conn.: Greenwood, 1986.Google Scholar
Meserve, Walter, ed. On Stage, America!New York: Feedback Theatrebooks, 1996.Google Scholar
Miller, Kerby. Emigrants and Exiles: Ireland and the Irish Exodus to North America. New York: Oxford University Press, 1985.Google Scholar
Miller, Perry. The New England Mind: The Seventeenth Century. Boston: Beacon Press, 1961.Google Scholar
Minnigerode, Meade. The Fabulous Forties, 1840–1850: A Presentation of Private Life. New York: G. P. Putnam’s Sons, 1924.Google Scholar
Mintz, Sidney, and Price, Richard. The Birth of African-American Culture: An Anthropological Perspective. Boston: Beacon Press, 1976.Google Scholar
Mintz, Steven. A Prison of Expectations: The Family in Victorian Culture. New York: New York University Press, 1983.Google Scholar
Mitchell, Reid. All on a Mardi Gras Day: Episodes in the History of New Orleans Carnival. Cambridge: Harvard University Press, 1995.Google Scholar
Molin, Sven Eric, and Goodfellowe, Robin. Dion Boucicualt, the Shaughraun: A Documentary Life, Letters, and Selected Works. Newark: Proscenium, 1979.Google Scholar
Monkkonen, Eric H.America Becomes Urban: The Development of U.S. Cities and Towns, 1780–1980. Berkeley: University of California Press, 1988.Google Scholar
Moody, Richard, ed. Dramas from the American Theatre, 1762–1909. Cleveland: World Publishing, 1966.Google Scholar
Moody, Richard. America Takes the Stage: Romanticism in American Drama and Theatre, 1750–1900. Bloomington: Indiana University Press, 1955.Google Scholar
Moody, Richard. Edwin Forrest: First Star of the American Stage. New York: Knopf, 1960.Google Scholar
Moody, Richard. The As tor Place Riot. Bloomington: Indiana University Press, 1958.Google Scholar
Morgan, Edmund S., and Morgan, Helen M.. The Stamp Act Crisis: Prologue to Revolution, rev. ed. New York: Collier, 1963.Google Scholar
Morgan, Winifred. An American Icon: Brother Jonathan and American Identity. Dover: Delaware University Press, 1988.Google Scholar
Morley, Sheridan. The Great Stage Stars. New York: Facts on File, 1986.Google Scholar
Morris, Clara. Life on the Stage: My Personal Experiences and Recollections. New York: McClure, Phillips, 1901.Google Scholar
Moses, Montrose J.The American Dramatist. Boston: Little, Brown, 1925.Google Scholar
Moses, Montrose J., and Brown, John Mason, eds. The American Theatre as Seen by Its Critics, 1752–1934. New York: Norton, 1934.Google Scholar
Moses, Montrose J., ed. Representative Plays by American Dramatists. New York: E. P. Dutton, 1918–21.Google Scholar
Mosse, George. The Nationalization of the Masses; Political Symbolism and Mass Movements in Germany from the Napoleonic Wars through the Third Reich. New York: H. Fertig, 1975.Google Scholar
Mowatt, Anna Cora. Autobiography of an Actress. Boston: Ticknor, Reed and Fields, 1854.Google Scholar
Murdoch, James E.A Plea for Spoken Language: An Essay upon Comparative Elocution. Cincinnati and New York: Van Antwerp, Bragg, 1883.Google Scholar
Murdoch, James E.The Stage: Recollections of Actors and Acting. Philadelphia: J. M. Stoddart, 1880.Google Scholar
Murphy, Maureen. “Irish-American Theatre.” In Seller, , Ethnic Theatre in the United States, 221–35.
Musser, Paul H.James Nelson Barker. Philadelphia: University of Pennsylvania Press, 1929.Google Scholar
Nash, Gary B.The Urban Crucible: The Northern Seaports and the Origins of the American Revolution. Cambridge: Harvard University Press, 1986.Google Scholar
Nathan, Hans. “The Tyrolese Family Rainer, and the Vogue of Singing Mountain Troupes in Europe and America.” Musical Quarterly 32 (1946): 63–79.CrossRefGoogle Scholar
Nathan, Hans. Dan Emmett and the Rise of Early Negro Minstrelsy. Norman: University of Oklahoma Press, 1962.Google Scholar
Nichols, Harold. “The Prejudice Against Native American Drama from 1778 to 1830.” Quarterly Journal of Speech 60 (1975): 279–88.CrossRefGoogle Scholar
Noid, Benjamin. “History of the Theatre in Stockton, California, 1850–1892.“ Diss., University of Utah, 1968.Google Scholar
Northall, William K.Behind the Curtain; or Fifteen Years Observations Among the Theatres of New York. New York: W. F. Burgese, 1851.Google Scholar
Norton, Anne. Alternative Americas: A Reading of Antebellum Political Culture. Chicago: University of Chicago Press, 1986.Google Scholar
Norton, Anne. Notable Names in the American Theatre, 2nd ed. Ed. McGill, Raymond D.. Clifton, N.J.: James T. White, 1976.Google Scholar
Odell, George C. D.Annals of the New York Stage. 15 vols. New York: Columbia University Press, 1927–49.Google Scholar
O’Malley, Michael. Keeping Watch: A History of American Time. New York: Viking, 1990.Google Scholar
Orosz, Joel J.Curators and Culture: The Museum Movement in America, 1740–1870. Tuscaloosa: University of Alabama Press, 1990.Google Scholar
Overmyer, Grace. America’s First Hamlet. New York: New York University Press, 1953.Google Scholar
Patterson, Mark R.Authority, Autonomy, and Representation in American Literature, 1776–1865. Princeton: Princeton University Press, 1988.CrossRefGoogle Scholar
Patterson, Mark R.Jacksonian America: Society, Personality, and Politics. Homewood, Ill.: Dorsey Press, 1969.Google Scholar
Pessen, Edward. Riches, Class, and Power Before the Civil War. Lexington: D. C. Heath, 1973.Google Scholar
Phelps, Henry Pitt. Players of a Century: A Record of the Albany Stage. Albany, N.Y.: J. McDonough, 1880.Google Scholar
Philbrick, Norman, ed. Trumpets Sounding: Propaganda Plays of the American Revolution. New York: Benjamin Blom, 1972.Google Scholar
Piersen, William D.Black Yankees: The Development of an Afro-American Subculture in Eighteenth-Century New England. Amherst: University of Massachusetts Press, 1988.Google Scholar
Poe, Edgar Allan. The Broadway Journal (July 19, 1845). In The Complete Works. Vol. 12. New York: AMS, 1902. Rpt, 1965, 187–88.
Pollock, Thomas C.The Philadelphia Theatre in the Eighteenth Century Together with the Day Book of the Same Period. Philadelphia: University of Pennsylvania Press, 1933.CrossRefGoogle Scholar
Porter, Susan L.With an Air Debonair: Musical Theatre in America, 1785–1815. Washington, D.C.: Smithsonian Press, 1991.Google Scholar
Postlewait, Thomas, and McConachie, Bruce A., eds. Interpreting the Theatrical Past. Iowa City: University of Iowa Press, 1989.Google Scholar
Power, Tyrone. Impressions of America During the Years 1833, 1834, and 1835. 2 vols. Philadelphia: Carey, Lea, and Blandchard, 1836.Google Scholar
Pritner, Calvin. “William Warren’s Financial Arrangements with Visiting Stars.” Theatre Survey 6 (1965): 83–90.CrossRefGoogle Scholar
Pritner, Calvin. “William Warren’s Management of the Chestnut Street Theatre Company.” Diss., University of Illinois, 1964.Google Scholar
Puckett, Newbell Niles. Folk Beliefs of the Southern Negroes. London: H. Milford, 1926. Rpt. Montclair, N.J.: Patterson Smith, 1968.Google Scholar
Quinn, Arthur Hobson. A History of the American Drama from the Beginning to the Civil War, 2nd ed. New York: Appleton-Century-Crofts, 1943.Google Scholar
Quinn, Arthur Hobson, ed. Representative American Plays from 1767 to the Present Day, 7th ed. New York: Appleton-Century-Crofts, 1957.Google Scholar
Quinn, John F.Father Mathew’s American Tour 1848–1851.” Eire-Ireland 30 (Spring 1995): 91–104.CrossRefGoogle Scholar
Raboteau, Albert J.Slave Religion: The “Invisible Institution” in the Antebellum South. New York: Oxford University Press, 1978.Google Scholar
Radin, Paul. The Trickster: A Study in American Indian Mythology. London: Routledge, 1972.Google Scholar
Ranger, Paul. ‘Terror and Pity Reign in Every Breast’: Gothic Drama in the London Patent Theatres, 1750–1820. London: Society for Theatre Research, 1991.Google Scholar
Rankin, Hugh F.The Theatre in Colonial America. Chapel Hill: University of North Carolina Press, 1960; 2nd ed., 1965.Google Scholar
Ratner, Lorman. James Kirke Paulding. Westport, Conn.: Greenwood, 1992.Google Scholar
Reeds, Duane Eldon. “A History of Showboats on the Western Rivers.” Diss., Michigan State University, 1978.Google Scholar
Rehin, George F.The Darker Image: American Negro Minstrelsy through the Historian’s Lens.” Journal of American Studies 9 (1975): 365–73.CrossRefGoogle Scholar
Reignolds-Winslow, Catherine Mary. Yesterdays with Actors. Boston: Cupples and Hurd, 1889.Google Scholar
Reinelt, Janelle, and Roach, Joseph, eds. Critical Theory and Performance. Ann Arbor: University of Michigan Press,. 1992.Google Scholar
Reynolds, David S.Beneath the American Renaissance: The Subversive Imagination in the Age of Emerson and Melville. New York: Knopf, 1988.Google Scholar
Reynolds, Larry J.James Kirke Paulding. Boston: Twayne, 1964.Google Scholar
Richardson, Gary A.American Drama from the Colonial Period Through World War I: A Critical History. New York: Twayne, 1993.Google Scholar
Rifkind, Carole. A Field Guide to American Architecture. New York: New American Library, 1980.Google Scholar
Rigdon, Walter, ed. The Biographical Encyclopedia and Who’s Who of the American Theatre. New York: James H. Heineman, 1966.Google Scholar
Rinear, David. The Temple of Momus: Mitchell’s Olympic Theatre. Metuchen, N.J.: Scarecrow Press, 1987.Google Scholar
Ritchey, David. A Guide to the Baltimore Stage in the Eighteenth Century. Westport, Conn., and London: Greenwood Press, 1982.Google Scholar
Ritchie, Anna Cora Ogden Mowatt. Autobiography of an Actress. Boston: Ticknor, Reed and Fields, 1854.Google Scholar
Ritter, Charles. “The Theatre in Memphis, Tennessee, from its Beginning to 1859.” Diss., University of Iowa, 1956.Google Scholar
Roach, Joseph. Cities of the Dead: Circum-Atlantic Performance. New York: Columbia University Press, 1996.Google Scholar
Roberts, Vera Mowry. “‘Lady-Managers’ in Nineteenth-Century American Theatre.” In Engle, and Miller, , The American Stage, 30–46.
RobinsonRoberts, Alice M. Vera Mowry, and Barranger, Milly S., eds. Notable Women in the American Theatre. Westport, Conn.: Greenwood, 1989.Google Scholar
Rock, Howard B.Artisans of the New Republic: The Tradesmen of New York City in the Age of Jefferson. New York: New York University Press, 1979.Google Scholar
Rodecape, Lois Foster. “Tom Maguire: Napoleon of the Stage.” California Historical Society Quarterly 20 (1941): 289–314; 21 (1942): 39–74, 141–82, 239–75.Google Scholar
Rodgers, Daniel T.The Work Ethic in Victorian America, 1850–1920. Chicago: University of Chicago Press, 1978.CrossRefGoogle Scholar
Roeber, A. G.Authority, Law and Custom: The Rituals of Court Day in Tidewater Virginia, 1720–1750.” William and Mary Quarterly 37 (1980): 29–52.CrossRefGoogle Scholar
Roediger, David. The Wages of Whiteness: Race and the Making of the American Working Class. London: Verso, 1991.Google Scholar
Rogin, Michael Paul. Fathers and Children: Andrew Jackson and the Subjugation of the American Indian. New York: Knopf, 1975.Google Scholar
Root, Deane L.American Popular Stage Music 1860–1880. Ann Arbor, Mich.: University of Michigan Research Press, 1981.Google Scholar
Rose, Anne C.Victorian America and the Civil War. New York and Cambridge: Cambridge University Press, 1992.Google Scholar
Rosenfeld, Sybil. The Georgian Theatre of Richmond Yorkshire. London: Society for Theatre Research, 1984.Google Scholar
Ross, Andrew. No Respect: Intellectuals and Popular Culture. New York: Routledge, 1989.Google Scholar
Rourke, Constance. American Humor; a Study of the National Character. Garden City: Doubleday, 1953.Google Scholar
Rourke, Constance. The Roots of American Culture, and Other Essays. New York: Harcourt, Brace and World, 1942.Google Scholar
Ruggles, Eleanor. Prince of Players: Edwin Booth. New York: Norton, 1953.Google Scholar
Ruland, Richard, and Bradbury, Malcolm, eds. From Puritanism to Postmodern: A History of American Literature. New York: Viking, 1991.Google Scholar
Rusk, Ralph Leslie. The Literature of the Middle Western Frontier. 2 vols. New York: Columbia University Press, 1925.Google Scholar
Russett, Cynthia Eagle. Sexual Science: The Victorian Construction of Womanhood. Cambridge: Harvard University Press, 1989.Google Scholar
Rutman, Darrett B., and Rutman, Anita H.. A Place in Time: Middlesex County, Virginia, 1650–1750. New York: Norton, 1984.Google Scholar
Rutman, Darrett B.American Puritanism: Faith and Practice. Philadelphia and New York: Lippincott, 1970.Google Scholar
Ryan, Kate. Old Boston Museum Days. Boston: Little, Brown, 1915.Google Scholar
Ryan, Mary P.The American Parade: Representations of the Nineteenth-Century Social Order.” In Hunt, Lynn, ed., The New Cultural History. Berkeley: University of California Press, 1989.Google Scholar
Ryan, Mary P.The Empire of the Mother: American Writing About Domesticity. New York: Haworth Press, 1982.Google Scholar
Ryan, Mary P.Women in Public: Between Banners and Ballots, 1825–1880. Baltimore: Johns Hopkins University Press, 1990.Google Scholar
Sampson, Henry T.Blacks in Blackface: A Source Book on Early Black Musical Shows. Metuchen, N.J.: Scarecrow Press, 1980.Google Scholar
Sarna, J. D.Jacksonian Jew: The Two Worlds of Mordecai Noah. New York: Holmes and Meier, 1981.Google Scholar
Saxon, A. H.Enter Foot and Horse: A History of Hippodrama in England and France. New Haven: Yale University Press, 1968.Google Scholar
Saxon, A. H.P. T. Barnum: The Legend and the Man. New York: Columbia University Press, 1989.Google Scholar
Saxton, Alexander. “Blackface Minstrelsy and Jacksonian Ideology.” American Quarterly 27 (1975): 3–28.CrossRefGoogle Scholar
Schick, Joseph S.Early Showboats and Circus in the Upper Valley.” Mid-America 32 (1950): 211–15.Google Scholar
Schilling, Lester. “The History of Theatre in Portland, Oregon, 1846–1959.” Diss., University of Wisconsin, 1961.Google Scholar
Schudson, Michael. Discovering the News: A Social History of American Newspapers. New York: Basic Books, 1978.Google Scholar
Schultz, Ronald. The Republic of Labor: Philadelphia Artisans and the Politics of Class. New York: Oxford University Press, 1993.Google Scholar
Schwarz, Lyle. “Theatre on the Gold Frontier: A Cultural Study of Five Northwest Mining Towns, 1860–1870.“ Diss., Washington State University, 1975.Google Scholar
Seilhamer, George O.History of the American Theatre. 3 vols. Philadelphia: Globe Printing House, 1888–91.Google Scholar
Sellars, Charles Coleman. Mr. Peale’s Museum. New York: W. W. Norton, 1980.Google Scholar
Seller, Maxine Schwartz, ed. Ethnic Theatre in the United States. Westport, Conn.: Greenwood, 1983.Google Scholar
Senelick, Laurence. The Age and Stage of George L. Fox, 1825–1877. Hanover, N.H.: University Press of New England, 1988.Google Scholar
Seymour, Bruce. Lola Montez, A Life. New Haven: Yale University Press, 1996.Google Scholar
Shattuck, Charles H.Shakespeare on the American Stage: From the Hallams to Edwin Booth. Washington, D.C.: Folger Shakespeare Library, 1976.Google Scholar
Shattuck, Charles H.The Hamlet of Edwin Booth. Urbana: University of Illinois Press, 1969.Google Scholar
Shaw, Peter. American Patriots and the Rituals of Revolution. Cambridge: Harvard University Press, 1981.Google Scholar
Sheehan, Bernard W.Savagism and Civility: Indians and Englishmen in Colonial Virginia. Cambridge: Cambridge University Press, 1980.Google Scholar
Silverman, Kenneth. A Cultural History of the American Revolution. New York: Thomas Y. Crowell, 1976.Google Scholar
Silvester, Robert. United States Theatre: A Bibliography from the Beginnings to 199. Romsey, England: Motley Press, 1993.Google Scholar
Slotkin, Richard. Fatal Environment: The Myth of the Frontier in the Age of Industrialization, 1800–1890. Middletown, Conn.: Wesleyan University Press, 1986.Google Scholar
Smith, Geddeth. Thomas Abthorpe Cooper: America’s Premier Tragedian. Madison, N.J.: Fairleigh Dickinson, 1996.Google Scholar
Smith, George W., and Judah, Charles, eds. Life in the North During the Civil War. Albuquerque: University of New Mexico Press, 1966.Google Scholar
Smith, James L.Melodrama. London: Methuen, 1973.Google Scholar
Smith, Solomon. Theatrical Management in the West and South for Thirty Years. 1868. Rpt. New York: Benjamin Blom, 1968.Google Scholar
Smith, Susan Harris. American Drama: The Bastard Art. New York and Cambridge: Cambridge University Press, 1997.CrossRefGoogle Scholar
Smith-Rosenberg, Carroll. Disorderly Conduct: Visions of Gender in Victorian America. New York: Oxford University Press, 1985.Google Scholar
Smither, Nelle. A History of the English Theatre at New Orleans. Philadelphia, 1944; Rpt. New York: Benjamin Blom, 1967.Google Scholar
Stansell, Christine. City of Women: Sex and Class in New York, 1789–1860. Urbana: University of Illinois Press, 1987.Google Scholar
Stedman, Raymond William. Shadows of the Indian: Stereotypes in American Culture. Norman: University of Oklahoma Press, 1982.Google Scholar
Stewart, George R.The Drama in a Frontier Theater.” The Parrott Presentation Volume. Ed. Craig, Hardin. Princeton: Princeton University Press, 1935, 183–205.Google Scholar
Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Baltimore: Johns Hopkins University Press, 1984.Google Scholar
Stoddard, Richard. “Notes on John Joseph Holland, With a Design for the Baltimore Theatre, 1802.” Theatre Survey 12 (1971): 58–66.CrossRefGoogle Scholar
Stoddard, Richard. “The Haymarket Theatre, Boston.” Educational Theatre Journal 27 (1975): 63–69.CrossRefGoogle Scholar
Stoddard, Richard. Stage Scenery, Machinery, and Lighting: A Guide to Information Sources. Detroit: Gale Research, 1977.Google Scholar
Stoddard, Richard. Theatre and Cinema Architecture: A Guide to Information Sources. Detroit: Gale Research, 1978.Google Scholar
Stokes, D. Allen. “The First Theatrical Season in Arkansas: Little Rock, 1838–1839.” Arkansas Historical Quarterly 23 (1964): 166–183.CrossRefGoogle Scholar
Stone, George Winchester Jr.The London Stage 1747–1776, A Critical Introduction. Carbondale: Southern Illinois University Press, 1968.Google Scholar
Stone, Mary Isabella. Edwin Booth’s Performances: The Mary Isabella Stone Commentaries. Ed. Watermeier, Daniel J.. Ann Arbor: University of Michigan Research Press, 1990.Google Scholar
Stott, Richard B.Workers in the Metropolis: Class, Ethnicity, and Youth in Antebellum New York City. Ithaca, N.Y.: Cornell University Press, 1990.Google Scholar
Stout, Harry S.The New England Soul: Preaching and Religious Culture in Colonial New England. New York: Oxford University Press, 1986.Google Scholar
Stratman, Carl J.American Theatrical Periodicals, 1798–1967: A Bibliographical Guide. Durham: Duke University Press, 1970.Google Scholar
Stratman, Carl J.Bibliography of the American Theatre Excluding New York City. Chicago: Loyola University Press, 1965.Google Scholar
Stuckey, Sterling. Slave Culture: Nationalist Theory and the Foundations of Black America. New York: Oxford University Press, 1987.Google Scholar
Swinney, Donald. “Production in the Wallack Theatres: 1852–1888.” Diss. Indiana University, 1962.Google Scholar
Takaki, Ronald. Iron Cages: Race and Culture in 19th-century America. New York: Oxford University Press, 1990.Google Scholar
Taubman, Howard. The Making of the American Theatre. New York: Coward McCann, 1965.Google Scholar
Taylor, Dorothy Jean. “Laura Keene in America: 1852–1873.” Diss., Tulane U, 1966.Google Scholar
Thayer, Stuart. Annals of the American Circus, 1793–1829. Manchester, Mich.: Thayer, 1976.Google Scholar
Thayer, Stuart. Annals of the American Circus, 1830–1847. Seattle: Peanut Butter, 1986.Google Scholar
Thernstrom, Stephen, et al. Harvard Encyclopedia of American Ethnic Groups. Cambridge: Harvard University Press, 1980.Google Scholar
Tilton, Robert S.Pocahontas: The Evolution of an American Narrative. New York and Cambridge: Cambridge University Press, 1994.Google Scholar
Tocqueville, Alexis. Democracy in America. Trans. Reeve, Henry and Bowen, Francis. Ed. Bradley, Phillips. 2 vols. New York: Knopf, 1951.Google Scholar
Tocqueville, Alexis. Journey to America. Trans. Lawrence, George. Ed. Mayer, J. P.. New Haven: Yale University Press, 1960.Google Scholar
Toll, Robert C.Blacking Up: The Minstrel Show in Nineteenth Century America. New York: Oxford University Press, 1974.Google Scholar
Tompkins, Jane. Sensational Designs: The Cultural Work of American Fiction, 1790–1860. New York: Oxford, 1985.Google Scholar
Towse, John Ranken. Sixty Years of the Theater. New York: Funk and Wagnalls, 1916.Google Scholar
Trachtenberg, Alan. The Incorporation of America: Culture and Society in the Gilded Age. New York: Hill and Wang, 1982.Google Scholar
Trussler, Simon. The Cambridge Illustrated History of British Theatre. Cambridge and New York: Cambridge University Press, 1994.Google Scholar
Twain, Mark. The Gilded Age. Vols. 19 and 20 of National Edition of the Writings of Mark Twain. New York: Collier, 1922.
Twain, Mark. The Adventures of Huckleberry Finn. Ed. Graff, Gerald and Phelan, James. Boston: Bedford Books, 1995.CrossRefGoogle Scholar
Twain, Mark. The Autobiography of Mark Twain (1924). Ed. Neider, Charles. New York: Harper and Row, 1959.Google Scholar
Tyrrel, Ian R.Sobering Up: From Temperance to Prohibition in Antebellum America, 1800–1860. Westport, Conn.: Greenwood Press, 1979.Google Scholar
Utz, Kathryn. “Columbus, Ohio: Theatre Seasons, 1840–41 to 1860–61.” Diss., Ohio State University, 1952.Google Scholar
Vandenhoff, George. Leaves from an Actor’s Note-book. New York: Appleton, 1860.Google Scholar
Vaughn, Jack A.Early American Dramatists: From the Beginnings to 1900. New York: Frederick Ungar, 1981.Google Scholar
Vecsey, Christopher. Imagine Ourselves Richly: Mythic Narratives of North American Indians. New York: Crossroad, 1988.Google Scholar
Wade, Jere D.The San Francisco Stage: 1859–1869.” Diss., University of Oregon, 1972.Google Scholar
Wade, Melvin. “‘Shining in Borrowed Plumage’: Affirmation of Community in the Black Coronation Festivals of New England, ca. 1750–1850.” In St. George, Robert Blair, ed., Material Life in America, 1600–1860. Boston: Northeastern University Press, 1988.Google Scholar
Wallace, Anthony. The Death and Rebirth of the Seneca. New York: Knopf, 1970.Google Scholar
Walsh, Townshend. The Career of Dion Boucicault. New York: Dunlap Society, 1915.Google Scholar
Ward, John William. Andrew Jackson: Symbol for an Age. New York: Oxford University Press, 1955.Google Scholar
Warner, Sam Bass. The Private City: Philadelphia in Three Periods of Its Growth. Philadelphia: University of Pennsylvania Press, 1968.Google Scholar
Watson, John F.Annals of Philadelphia and Pennsylvania. Philadelphia, 1786.Google Scholar
Watt, Stephen, and Richardson, Gary A., eds. American Drama, Colonial to Contemporary. Fort Worth, Tex.: Harcourt Brace, 1995.Google Scholar
Watts, Steven. The Republic Reborn: War and the Making of Liberal America, 1790–1820. Baltimore: Johns Hopkins University Press, 1987.Google Scholar
Wearing, J. P.American and British Theatrical Biography. Metuchen: Scarecrow Press, 1979.Google Scholar
Weber, David J.The Spanish Frontier in North America. New Haven: Yale University Press, 1992.Google Scholar
Webster, Noah. Letters to a Young Gentleman Concerning His Education. Hartford, Conn., 1823.Google Scholar
Webster, Noah. The Letters of Noah Webster. Ed. Warfel, Harry. New York: Library Publishers, 1953.Google Scholar
Wemyss, Francis Courtney. Chronology of the American Stage, 1752–1852. New York: W. Taylor, 1852. Rpt. New York: Benjamin Blom, 1968.Google Scholar
Wemyss, Francis Courtney. Theatrical Biography; or, the Life of an Actor and Manager. Glasgow: R. Griffin, 1848.Google Scholar
Wemyss, Francis Courtney. Twenty-Six Years of the Life of an Actor and Manager. New York: Burgess, Stringer, 1847.Google Scholar
White, Richard. The Middle Ground: Indians, Empires, and Republics in the Great Lakes Region, 1650–1815. Cambridge and New York: Cambridge University Press, 1991.CrossRefGoogle Scholar
White, Shane. “‘It Was a Proud Day’: African Americans, Festivals, and Parades in the North, 1741–1834.” Journal of American History 81 (1994): 13–50.CrossRefGoogle Scholar
Wiebe, Robert H.The Opening of American Society: From the Adoption of the Constitution to the Eve of Disunion. New York: Knopf, 1984.Google Scholar
Wilentz, Sean. Chants Democratic: New York City and the Rise of the American Working Class, 1789–1860. New York: Oxford University Press, 1984.Google Scholar
Willard, George. A History of the Providence Stage, 1762–1891. Providence: Rhode Island News, 1891.Google Scholar
Williams, Henry B.The American Theatre: A Sum of Its Parts. New York: Samuel French, 1971.Google Scholar
Williams, Raymond. Marxism and Literature. Oxford: Oxford University Press, 1977.Google Scholar
Williamson, Jane. Charles Kemble: Man of the Theatre. Lincoln: University of Nebraska Press, 1964.Google Scholar
Willis, Eola. The Charleston Stage in the XVIII Century. Columbia, S.C.: State Company, 1924.Google Scholar
Wills, Gary. Lincoln at Gettysburg: The Words That Remade America. New York: Simon and Schuster, 1992.Google Scholar
Wilmeth, Don B., and Cullen, Rosemary. “Introduction.” In Plays of Augustin Daly. Cambridge and New York: Cambridge University Press, 1984.Google Scholar
Wilmeth, Don B. “‘Noble or Ruthless Savage?’: The American Indian on Stage and in the Drama.” The Journal of American Drama and Theatre 1 (Spring 1989): 39–78.Google Scholar
Wilmeth, Don B.Tentative Checklist of Indian Plays.” The Journal of American Drama and Theatre 1 (Fall 1989): 34–54.Google Scholar
Wilmeth, Don B.American and English Popular Entertainment: A Guide to Information Sources. Detroit: Gale Research Co., 1980.Google Scholar
Wilmeth, Don B.George Frederick Cooke: Machiavel of the Stage. Westport, Conn.: Greenwood, 1980.Google Scholar
Wilmeth, Don B.The American Stage to World War I: A Guide to Information Sources. Detroit: Gale Research, 1978.Google Scholar
Wilmeth, Don B.Variety Entertainment and Outdoor Amusements: A Reference Guide. Westport, Conn.: Greenwood Press, 1982.Google Scholar
Wilmeth, Don B. and Miller, Tice L., eds. Cambridge Guide to American Theatre. New York and Cambridge: Cambridge University Press, 1993.Google Scholar
Wilmeth, Don B. ed., Staging the Nation: Plays from the American Theatre, 1787–1909. Boston: Bedford Books of St. Martin’s Press, 1998.Google Scholar
Wilson, A. H.History of the Philadelphia Theatre, 1835–1855. Philadelphia: University of Pennsylvania Press, 1935.Google Scholar
Wilson, Garff B.History of American Acting. Bloomington: Indiana University Press, 1966.Google Scholar
Wilson, Garff B.Three Hundred Years of American Drama and Theatre. Englewood Cliffs, N.J.: Prentice-Hall, 1973.Google Scholar
Winslow, Catherine Mary Reignolds. See Reignolds-Winslow, .
Winter, Marian HannahJuba and American Minstrelsy.” Dance Index 6 (1947): 28–47.Google Scholar
Winter, William, ed. Life, Stories, and Poems of John Brougham. Boston: James R. Osgood, 1881.Google Scholar
Winter, William, ed. Shakespeare on the Stage. New York: Moffat, Yard, 1911.Google Scholar
Winton, CalhounThe Theatre and Drama.” In Emerson, , American Literature, 1764–1789.Google Scholar
Witham, Barry, ed. Theatre in the United States: A Documentary History. Vol. I: 1750–1915, Theatre in the Colonies and United States. Contributors Mahard, Martha, Rinear, David, and Wilmeth, Don B.. New York and Cambridge: Cambridge University Press, 1996.Google Scholar
Wittke, Carl. Tambo and Bones: A History of the Minstrel Show. Durham: Duke University Press, 1930.Google Scholar
Wolter, J. C., ed. and ,comp.The Dawning of American Drama: American Dramatic Criticism, 1746–1915. Westport, Conn., and London: Greenwood Press, 1993.Google Scholar
Wood, Gordon. The Creation of the American Republic, 1776–1789.Chapel Hill: University of North Carolina Press, 1969.Google Scholar
Wood, William B.Personal Recollections of the Stage. Philadelphia: H. C. Baird, 1855.Google Scholar
Wright, Louis B.Cultural Life of the American Colonies, 1607–1763. New York: Harper and Row, 1957.Google Scholar
Wright, Louis B.Culture on the Moving Frontier. Bloomington: Indiana University Press, 1955.Google Scholar
Wyatt-Brown, Bertram. Southern Honor: Ethics and Behavior in the Old South. New York: Oxford University Press, 1982.Google Scholar
Yeo, Eileen, and Yeo, Stephen. “Ways of Seeing: Control and Leisure versus Class and Struggle.” In Popular Culture and Class Conflict 1590–1914: Explorations in the History of Labour and Leisure. Eds. Yeo, Eileen and Yeo, Stephen. Atlantic Highlands: Humanities Press, 1981.Google Scholar
Young, William C.American Theatrical Arts: A Guide to Manuscript and Special Collections in the United States and Canada. Chicago: American Library Association, 1971.Google Scholar
Young, William C., ed. Documents of American Theatre History: Volume I, Famous American Playhouses, 1716–1899. Chicago: American Library Assn., 1973.Google Scholar
Young, William C., ed. Famous Actors and Actresses of the New York Stage. 2 vols. New York: R. R. Bowker, 1975.Google Scholar
Zagari, Rosemarie. A Woman’s Dilemma: Mercy Otis Warren and the American Revolution. Wheeling, III: Harland Davidson, 1995.Google Scholar
Zanger, Jules. “The Minstrel Show as Theater of Misrule.” Quarterly Journal of Speech 60 (1974): 33–38.CrossRefGoogle Scholar
Zeidman, Irving. The American Burlesque Show. New York: Hawthorn Books, 1967.Google Scholar
Zelinsky, Wilber. Nation into State: The Shifting Symbolic Foundations of American Nationalism. Chapel Hill: University of North Carolina Press, 1989.Google Scholar
Zuckerman, Michael. “Pilgrim in the Wilderness: Community, Modernity, and the Maypole at Merry Mount.” New England Quarterly 50 (1977): 255–77.CrossRefGoogle Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Edited by Don B. Wilmeth, Brown University, Rhode Island, Christopher Bigsby, University of East Anglia
  • Book: The Cambridge History of American Theatre
  • Online publication: 28 March 2008
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521472043.012
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Edited by Don B. Wilmeth, Brown University, Rhode Island, Christopher Bigsby, University of East Anglia
  • Book: The Cambridge History of American Theatre
  • Online publication: 28 March 2008
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521472043.012
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Edited by Don B. Wilmeth, Brown University, Rhode Island, Christopher Bigsby, University of East Anglia
  • Book: The Cambridge History of American Theatre
  • Online publication: 28 March 2008
  • Chapter DOI: https://doi.org/10.1017/CHOL9780521472043.012
Available formats
×